Memory and History; The Politics of History Making in Hawai-i.

Important dates reinforce historical interpretations of memory. In order to remember some specific event, the collective pauses to pay tribute to a past solitary event that‚s systematically set apart from the constant flow of life. In doing so, dates lend life calenderic rhythm as events are memorialized and celebrated. The dates themselves help to then legitimize the markers of the date as the author of historical realities. For the individual, dates in general help to break up days by building anticipation and giving life meaning in expectation of some celebrated upcoming happening. Date-marking is the chance to circle, in red marker, on the calendars of an otherwise monotonous existences. In the larger scheme of the state, dates act to assure us of the state‚s continuity as we are given faith in the past and stand in anticipation for theauthorized future. In this linear continuum, designated by days and dates, the further anterior the date the better. Usually, the historical description of things said is shot through with the opposition of interior and exterior; and wholly directed by a desire to move from the exterior towards the essential nucleus of interiorityIn this manner, history and memory remain divided and separate discursive entities. For Pierre Nora, history eradicates memory and history is perpetually suspicious of memory, and its true mission is to suppress and destroy it.â€* Nora recognizes true memory as genealogy and that which „installs remembrance within the sacred.â€* True memory is ingrained in natural cycles and celebrates the larger depth of existence. In this memory narrative there are more actors, more agency, and more complications involved in its construction. This interpretation is generally non-linear and generational. How would we know ourselves generationally? Personally, this is a frightful proposition to know myself as my father/mother knew themselves, my grandfather/grandmother knew themselves, etc. etc. This type of knowing consists of tracking oneself through the true memories, or through the narrative itself as opposed to the representation of that narrative, thus making it a far more complicated and chaotic prospect.A literal production of historic narrative in Hawai-i in the early 1900‚s came in the form of political theatre. Curtis Iaukea, who while in service to King Kalakaua, coordinated and managed the King‚s spectacular royal coronation which took place on February 12, 1883 at the bandstand of -Iolani Palace. The King wanted a magnificent event that would honor his majesty and her majesty Queen Kapiolani in a manner befitting royalty after returning from his world tour in 1881. What followed was a production, criticized by some-mostly the white population in government-as being too expensive and lavish an event. In 1929, 46 years after this regal event and after a year of planning and preparing, much of that same population that criticized the King‚s Å'spendthrift‚ ways, participated in the reenactment of the actual event at -Iolani Palace. And at this event, Curtis re-planned the royal coronation for a reenactment play by the Territorial Government. Both Curtis and Charlotte Iaukea also re-played themselves in their original roles in the Hawaiian Monarchy for the play. This paper looks at memory and history and the apex of the point of meeting through the personal reminices of my great great grandfather in the Territorial era in Hawai-i's history. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]